m
. itf'
BVLLETI1H
OF THE
PTOSYMNIA
^iir^^
\ / ^2lll^ ^ll^
7 VJ FVBLlSftED QVARTERLY v\ \
/ / / BY TflE V \\
// /PE^iS$YLVA^IA\ \\
f / MV3EVM \\
/ / AND \ \
f SCftflOLOFEDV5TRIALART\ I
MEMORIAL MLL
\ FAIRMOVNT PARK 1
I XA PftlLADDLPAIA fo/' ]
\ \gj * J**^ NynBER \ O ^*A^^\^/ A
\ jg Sy A APRIL-1905 #V V^V^ /
'- \^t yr jf / f 1 \ x\(
■;■ ' '
Entered, Atiguit 37, !<>03V«t Philadelphia, Pa. ,
i,1-class matter, under A~ci oi Congress of July 16, l«94
PEN NSY1VAN I A M U S E U M
AND SCHOOL OF INDUSTRIAL ART
<S>r fleers
THEODORE C. SEARCH, President
Site-Presidents
WILLIAM PLATT PEPPER, ) rr
•v Vi
JOHN T, MORRIS, j
GEORGE H. CLIFF, Treasurer
EDWIN ATLEE BARBER, Secretary mid -Curator
WILLIAM/ PLATT PEPPER, Director
LESLIE W. MILLER, Principal, of the School
EDWIN ATLEE BARBER, Editor
M. E DAWSON, Associate Editor -
»
bulletin
for Hpril, nineteen Munoreo ano fin
CONTENTS
The Pennsylvania Museum and School of Industrial, Art . . , 17
The Pottery School . ''."-.. By Leon Volkmar 23
Ancient Lace (Second Paper) . . . By Mrs. JOHN Harrison 26
Tapestry {Second Paper) . . . .By Charles E. Dana 31
Accessions from the. St. Louis Fair . . . . -35
Editorial . . . . . . . . . -37
Notes . . . . . . . . . . -39
BULLETIN
THE PENNSY LVA N I A MUSEUM
April i, 1905
THIRD YEAR
Number 10
THE PENNSYLVANIA MUSEUM
AND SCHOOL OF INDUSTRIAL ART
MEMORIAL HALL, FAIRMOUNT PARK
On July 20, 1875, a committee of prominent Philadelphians met at the office
of James L. Claghorn, President of the Commercial Bank, for the purpose of
taking steps toward the establishment of a museum of art in Philadelphia. Sub-
sequent meetings were held at various places, resulting in a permanent organiza-
tion, and on February 27, 1876, The Pennsylvania Museum and School of
Industrial Art was chartered.
On May 10, 1877, exactly one year after the inauguration of the great
International Exhibition of 1876, the doors of the Museum were first thrown
open to the public, Memorial Hall in Fairmount Park, the Art Gallery of the
Centennial, having been originally designed for this purpose. During the early
years a small admission fee was charged, but since January 1, 1881, its con-
stantly increasing collections have been on exhibition, free to the public, every
day in the year.
The principal object which the projectors of this institution had in view
was the development of the art industries of the State by means of exhibits of
objects in all branches of industrial art. in connection with the furnishing of
instruction in drawing, painting, modeling, designing, etc., through practical
JAMES BUTTERWORTH HARRINGTON FITZGERALD CHARLES H. HARDING JOHN G. CARRUTH
Appointed by State Senate Appointed by Appointed by Select Council Appointed by Common Council
SAMUEL G. THOMPSON CHARLES E. DANA JOHN STORY JENKS C. N. WEYGANDT
Appointed by Chairman Art Committee Chairman Museum Committee Chairman Finance Committee
MRS. EDWARD H OGDEN ROBERT C H. BROCK ISAAC H. CLOTHIER JOHN H CONVERSE
Representing
issociate Committee of Women
THOMAS OOLAN ALFRED C. LAMBDIN RICHARD ROSSMASSLER WILLIAM WOOO
Trustees of
The Pennsylvania Museum and School of Industrial Art
BULLETIN OF THE PENNSYLVANIA MUSEUM
*9
schools, special libraries and otherwise, the instruction to be similar in its general
features to that of the South Kensington Museum of London.
The Board of Trustees consists of the Governor of the State and the Mayor
of the city, ex-ofhciis, and twenty of Philadelphia's most
prominent citizens, including representatives of the State
Senate and House of Representatives, the Select and Com-
mon Councils of the city and the Commissioners of Fair-
mount Park, who have, through their public-spirited interest
in the institution, their self-sacrificing efforts and liberal con-
tributions, placed the Museum and School on their present
high footing.
The nucleus of the present extensive collections of the
Museum consisted of some of the most valuable exhibits
from the International Exhibition of 1876, many of them being
presented by the exhibitors, while others were purchased with
funds raised for the purpose. In 1882 the Museum received the first instalment
of one of its most valuable gifts. This interesting collection was gathered
together in Europe by Mrs. Bloomfield Moore and given to the Museum as a
memorial of her husband. Mrs. Moore made the collection at a time when it
was possible to secure rare and valuable objects of unquestioned genuineness.
The collection covers the broadest field of industrial art, including examples of
antique furniture, enamels, carved ivories, jewelry, metal work, glass, pottery,
porcelain, early books, fans, textiles, costumes and paintings.
Other donations of exhibits rapidly followed, the principal of which are the
Dr. Robert H. Lamborn collection of early art, including a representative series
of Mexican paintings ; the William S. Vaux, Dr. Robert H. Lamborn, Dr. F. W.
Lewis and Mrs. Jones Wister collections of Etruscan, Cypriote, Egyptian and
Greco-Roman antiquities ; the Hector Tyndale, Dr. Francis W. Lewis, Edward
S. Clarke, Cornelia Thompson and Rev. Alfred Duane Pell collections of ceram-
ics ; the John T. Morris collections of ancient and modern art. including the
unique exhibit of American pottery and porcelain ; the Clarence P. Moore and
Thomas Hockley collections of coins ; the Charles E. Dana collection of historic
seals, and the Mrs. W. D. Frishmuth collection of Colonial relics. The Wilstach
gallery of paintings occupies the large apartments in the
western end of the building. In 1883 the Associate Commit-
tee of Women, the outgrowth of the Women's Executive
Committee of the Centennial Exposition, of which .Mrs.
Elizabeth Duane Gillespie was the leading spirit, came into
existence as an auxiliary to the Board of Trustees, and to the
well-directed efforts and valuable assistance of this bod}- is
largely due the success which has attended the administra-
tion of both the Museum and School.
A fund of $50,000 was placed in trust for the benefit of
The Pennsylvania Museum and School of Industrial Art by c^Jt^oAhf NUisfum
the late Joseph E. Temple, three-fifths of the interest from and secretary
which is set apart for the purchase of objects of art for the Museum, while two-
fifths is set apart for the School. This income is a perennial benefaction which
has enabled the Museum authorities from time to time to secure some of the best
20 BULLETIN OF THE PENNSYLVANIA MUSEUM
works of antiquity and of modern art. Many of the most valuable exhibits in the
Museum bear the label of the Temple trust, and in this manner the memory of
the donor is constantly being revived.
The Pennsylvania Museum is widely acknowledged to be one of Philadel-
phia's most popular institutions. After the lapse of more than a quarter of a
century it is now recognized to be one of the foremost art museums in the United
States. Its collections represent every branch of the industrial and fine arts,
gathered from every section of the globe, but they are particularly rich in speci-
mens of American art, a field which has not been entered seriously by anv other
museum. These collections have been extensively used bv the art schools of this
ENTRANCE TO THE WILSTACH GALLERY OF PAINTINGS
city in their work, and classes of students are offered every facility for drawing
and designing from the objects themselves.
That the public appreciates the educational work of the Museum authorities
is abundantly demonstrated by the large attendance at Memorial Hall, which
aggregates 400,000 to 460,000 each year.
The School of Industrial Art is the direct outcome of the new interest in
industrial art, created by the great exhibition of 1876, which brought home to
Americans, as nothing else had ever done, a sense of the importance to an indus-
trial community like our own of making liberal provision for instruction in art,
while the new interest in technical education which was destined to exert so pow-
erful an influence on our whole educational system demanded that the closest
association of such instruction with practical industrial aims should be main-
tained. Practically nothing had been accomplished in this country that could
be regarded as offering much assistance in the way of furnishing precedents or
guidance, but the importance of the English example as represented by the
BULLETIN OF THE PENNSYLVANIA MUSEUM
national system of industrial art education has been recognized from the first,
and the remarkable progress of technical education in Germany during the last
half century has been closely studied and the best results of this experience are
believed to have been embodied in the meth-
ods of the School. The principle recognized
by its founders as fundamental to all suc-
cess in industrial education is that while a
thorough training in drawing, painting and
modeling, as taught in the best schools
everywhere, is essential, it is yet possible
and, indeed, indispensable to combine with
this training a good deal of practical illus-
tration in the more important forms of
craftsmanship, and especially those offering
the most artistic possibilities. Even if it
was to be regarded as the main object of the
School to serve as a school of design, such
technical training was thought to be indispensable for the reason that intelligent
and practical design is not possible except under the influence of that reaction
on artistic ideals which is produced by actual contact with the methods and mate-
rials employed in industrial processes. But the School aims to do much more
than serve as a school of design. Enough effort had been expended in attempts
to teach design alone before 1876 to show that what was most needed here in
America was something more radical than that, namely, the development of the
A CLASS IN DRAWING
kind of skill on which not design alone but execution depends. It was recog-
nized that no matter how tasteful our designs might be, the effect on our indus-
tries would be insignificant if the industries themselves were not improved and
if the men engaged in actual production were not to be reached and influenced
by the new education.
This idea is at the bottom of the most significant reforms in the educational
methods, not only of America, but of Europe as well, that have been brought
about within the last twenty-five years, and in the promotion of which a con-
spicuous part has been played by the School of Industrial Art of the Pennsyl-
vania Museum.
BULLETIN OF THE PENNSYLVANIA MUSEUM
It has frankly accepted existing commercial and industrial conditions not
only as things to be tolerated, but as actually furnishing the truest inspiration
and the safest guides. It believes that industrial education to be practical should
be based on present needs and should concern itself with
processes and conditions which actually prevail here and
now. Acting on this principle the laboratory method has
been developed and extended in ways, and to an extent, that
was unheard and undreamed of when the School was first
established. Shops for wood-work and carving, for metal-
work and leather-work — including bookbinding — a pottery-
furnished with a kiln in which wares of commercial sizes and
in commercial quantities can be fired, model cotton and
woolen textile mills, including spinning plants and a dye-
house as well as weave-rooms, and an exceptionally complete
department of chemistry form parts of the equipment as
essential and as constantly in use as the lecture-rooms or studios.
Established by private initiative alone, the School was supported during the
first ten years of its existence ( 1877 to 1887) entirely by private contributions
from the officers and trustees, supplemented by the dues of a small contributing
membership and the tuition fees of pupils, which, however, amounted at most
to only about three thousand dollars ($3,000) a year, and which during the first
LESLIE W. MILLER
five years of the School's history may almost be regarded as a negligible quan-
tity, its founders having aimed to make the instruction free. Even the establish-
ment and equipment in 1884 of the Textile School, which represented an
expenditure of some thirty thousand dollars, was accomplished by the efforts
and to a large extent by the private generosity of Mr. Search, who was at that
time Chairman of the Committee on Instruction, aided by many of the most
public-spirited manufacturers of the city, but entirely without public or official
assistance of any kind.
5ULLETIN OF THE PENNSYLVANIA MUSEUM
23
HOWARD F. STRATTON
The Associate Committee of Women, under the chairmanship of Mrs. E. D.
Gillespie, also rendered most efficient service, and contributed, during the first
few years of its existence, at least thirty thousand dollars ($30,000) toward the
©maintenance of the School.
An appropriation of five thousand dollars ($5,000) a
year, which was made by the State in 1887 and which has
either been continued or increased by each succeeding Legis-
lature, has made possible the extension of the School's work,
which has been steady and continuous ever since.
Coupled with the first State appropriation was the estab-
lishment of seventy-nine free scholarships, appointments to
which are made by the Governor. Fifteen free scholarships
were also placed at the disposal of the Board of Public Edu-
cation of the city of Philadelphia in 1880 and the number
\vas afterwards increased to fifty-one. In 1896 the city made
an appropriation of $7,500 toward the support of the School,
which amount has since been increased at different times
until it now amounts to $15,000 for the current year.
Both day and evening classes are maintained. In 1880
the registration in both classes amounted to less than 100 and
the Principal was the only instructor. The registration now
amounts to upwards of 1 .000 and the corps of instructors to
thirty-eight. The strength of the School and the extent of
its service is, however, best measured by its graduates, hun-
dreds of whom are filling important positions and perform-
ing most valuable service as artists, architects, manufac-
turers, designers, superintendents and teachers, who are mak-
ing its influence felt in every section of the commonwealth and of the country.
fh
THE POTTERY DEPARTMENT
Until recently there has been no way by which a student so desiring could
gain a knowledge of practical pottery making other than by entering some pot-
tery as a worker, and even that means has been lost by the development of the
modern system of specialization which confines the work of each helper to some
small detail of the process.
The revival within the last decade or so of the spirit that demands simple
technique, combined with good taste, has opened the door, so long barred,
through which the teaching of the actual processes can be successfully intro-
duced. Such instruction brought to the students of an industrial art school
equips them with the knowledge of actual conditions that enables them to take
their places, either as designers and decorators in the larger potteries, or as indi-
vidual art workers. They are thus strongly fortified by that sympathy with the
technical processes that will be the real means of raising ceramic design to a
higher standard.
24
BULLETIN OF THE PENNSYLVANIA MUSEUM
HAND-FORMED GARDEN VASE
Instruction is given on the following
subjects :
The different varieties of clays, how
and where found, the elements of which
they are composed and their physical
characteristics.
The simple theory and practice of
preparing, washing and tempering, to
obtain desired results.
Methods of forming, beginning with
the simplest and oldest, the hand model-
ing, and developing more slowly the use
of the potter's wheel.
The different methods of decora-
tion : The incised, the relief and the slip-
decorated.
The application of the glaze coating, accomplished in several ways, each of
which requires considerable skill. Study of glaze composition is important to
the student who expects to do individual work in ceramics, and with proper
direction, criticism and aid this subject may be greatly simplified.
The process of burning is one of the most delicate, and requires the actual
experience that can only be had from the observation of a number of different
firings of the kiln.
The work accomplished in the Pottery Class of the School of Industrial
Art has been along the line of form,
with the understanding and manipula-
tion of materials. A raw clay, as it
comes from the bank, is pulverized
and soaked in tubs, and then sieved.
This creamy liquid is poured into
plaster-of-paris basins that absorb the
moisture, and as it becomes stiff, so
that it is no longer sticky, it is
removed and ready to beat and knead
for use.
The student, having made a small
sketch and submitted it, then draws it
full size on a piece of cardboard, cut-
ting it out carefully to use as a guide.
This is to make clear the manner of
executing a piece of pottery from a
drawing, as well as to illustrate the
shapes that are most naturally pottery
forms, students often having observed
pleasing lines in metal work, for
instance, that are not at all suited to
clay working.
coiling a vase by hand The first movement is to beat a
BULLETIN" OF THE PENNSYLVANIA MUSEUM
25
POTTERS WHEEL
lump of clay into a layer of the proper
diameter and thickness for the base of
the piece contemplated. Another lump,
rolled into a long even rope, is coiled
around the edges and when the cir-
cumference has been entirely built up
the end of the clay rope is broken off
and the surface is modeled and
smoothed with the fingers so as to
strengthen the joints. With constant
reference to the cardboard guide, the
piece is modeled with great care until
it conforms (as nearly as the student's
skill will allow) to the design.
A knowledge of this process, the
oldest form of pottery making, enables
the student to obtain results that are
stimulating to further effort. It is also
an encouragement to the study of the
use of the potter's wheel, which repre-
sents the hand working along exactly
the same lines, with the aid of the cen-
trifugal force. It is also the process by
which all art forms, varying from the
round, are of necessity executed, even
design in quantity by moulding. Having
the raw material, the student is encouraged to undertake more important work.
The pieces made in the class are examined and the best selected for firing in
the kiln. This kiln, built on the most modern principles, is heated with oil and
takes from sixteen to twenty hours to fire the clay to 1180 degrees Celsius, at
which heat it becomes hard.
The biscuit pieces ( as they are called from their resemblance to a baked
biscuit) are then returned to the student for the application of the color and
glaze. The simplest method of decoration is by means of colored glazes. There
is also the underglaze decoration, in which the design is painted on the clay, and
a transparent glaze melted over all. The pieces are then replaced in the kiln,
protected as much as possible from the flames by clay boxes or saggers, and fired
to about 1 100 degrees Celsius. The heat thoroughly melts the glaze and gives
the proper completing finish. This part of the process is the most uncertain, as
difficulties often arise that it is impossible to foresee, but with
proper direction, prepared to deal with such problems, they must
yield to a careful study of conditions.
The management of the kiln is observed by the student, the
principles and difficulties and their causes and remedies discussed,
Mark used or, and the desired qualities fully explained.
Pc " e,y The study of glazes is the most difficult part of ceramics, and
means that the worker desiring to originate and perfect his own glaze combina-
tions must expect to devote considerable time to this as a special study, aside
from the learning of the actual use of the clay and fire.
when it is desired to reproduce a
gained confidence in the working- of
20 BULLETIN OF THE PENNSYLVANIA MUSEUM
Of the work already accomplished, last year's half season course produced
some garden-pot forms that were decidedly interesting both in design and color.
These larger pieces are of course all hand made, and in spite of the very limited
time that can be devoted to the work, the careful observer can see that the student
obtains a knowledge of pottery making based on no one style, but combining the
best of all, coupled with an understanding of the practical work, such as students
in this country have never before had an opportunity of acquiring.
The next quarter century will undoubtedly see a great advance in industrial
art, a movement in which pottery will certainly take a leading part.
Leon Volkmar,
Instructor in Charge.
ANCIENT LACE
(SECOND PAPER)
PILLOW LACE
The second of the two great divisions of ancient lace, called "Pillow," as its
name indicates, was (and is) made on a pillow with bobbins and, as I said in
the preceding article, upon examination with the magnifying glass, resembles a
piece of cambric, in contrast to Point lace, which, upon a similar investigation,
proves to be composed of countless buttonhole stitches. As Point lace was
evolved from embroidery, and, through various processes of needlework, became
at last the product of the buttonhole
stitch, so we find the ancestry of Pillow
lace in the twisting and plaiting of rope,
cord, twine, braid, etc. We know that
rope was used thousands of years ago in
Egypt, Assyria, India, etc., and we see
depicted on the Greek vases the braided
fillets of gold, silver and silk worn by the
women in their hair. These are but two
examples of twisting and plaiting, but
they show the origin of Pillow lace.
We notice frequently in pictures of
the fourteenth and fifteenth centuries that
the borders of veils ( generally of tissue,
silk or linen) worn by women are
trimmed with a narrow braid made into
small loops giving a light and lacy effect
to the edge of the veil, and this first
attempt at lace was called ''purling." It
was also used to trim linen collars and the ruffs of men in the sixteenth century.
Later in that same century, Italy produced a lace known as "Alerletti a Piom-
bini," meaning lace ( Merletti ), by means of ( a ) leaden bobbins ( Piombini), and
BULLETIN OF THE PENNSYLVANIA MUSEUM
-'7
v
i i ■iilnl YiitiHAf^O*
as metal pins began to be in general use at that time, they too formed an impor-
tant factor in the making of what was at first but a very simple lace.
Shortly afterward, however, the designers of the Venetian Points made
tjm mm^^m ^— ^mm im wi^— special patterns for this
1 product of the pillow and
.... ••.- W : '•' ,.-•, '" .- . -"%.-.-. bobbins, and the results were
:•• .:' ,; " % ■ ■ '%■■•*.&%• '■ soon seen in the elaborate
"•.■-'"'.;.•;'■ _ •• a,,,] lirautiful lace>- i'f ( lenna
.'.. . am! Milan. At tirM wlu-n
.• > the m.t<>11n and llowing lines
hi" the deML;n^ were united
W!;'%i: ,k '&.- '$y<$te&f'J& ' b. v the "brides" or "ties,"
they slightly resembled the
Venetian Points, but later
when a mesh background
■BMHB^bbb was substituted for these
Genoese aforesaid short connecting
seventeenth Century lines their individuality be-
came more marked. They have frequently been erroneously named "Genoese"
and "Milanese Guipures," a misnomer given also to other laces which were char-
acterized by heavy lines (whatever the design might be) on a light background,
but they are not Guipure, as that was a trimming made with stiff cords of silk,
flax or metal, bent into waving lines fastened by loops of thread, and while it
dates back to the sixteenth century, is still made at the present day and is called
Passementerie.
These Genoese and Milanese laces are much sought after to-day, are copied
extensively in Italy and elsewhere, and to my great surprise I saw last winter
most exquisite reproductions of these and other laces made by Indian women of
Minnesota, Wisconsin, South Dakota, etc., results of a philanthropic enterprise
started in 1890 by
Miss Sybil Carter,
who with her faithful
assistants has done
noble work in devel-
oping, not only indus-
try, but intelligent
ideas, appreciation of
artistic designing and
dainty workmanship
among the women of
a race in whose pitiful
life we, as Americans,
should take an inter-
est far above all Milanese
OtherS. Seventeenth Century
A brief description of the process of making Pillow lace may not be uninter-
esting and I will describe it as taught to me several years ago at Contrexeville,
near Mirecourt (in the department of Vosges, France), the" latter town once a
famous lace-making centre.
28
BULLETIN OF THE PENNSYLVANIA MUSEUM
The first step after the design is drawn and pricked through the parchment
is to fasten it to the pillow, held on the lap. or placed on a small table, the ends
of the threads (which are wound on the bobbins) are then attached to the top
J* : ..V
~ - ' v.-
MECHLIN
Late Seventeenth and Early Eighteenth Centuries
of the parchment pattern, and when the pins are stuck through certain fixed
points in the design, the work begins of twisting and plaiting the threads in and
out, among the pins, following always the design until that particular length
of the pattern is completed. The pins are then taken out, the pattern drawn for-
ward, the pins reinserted, the twisting and plaiting renewed and so on until the
lace is finished.
Of course this description applies particularly to certain narrow simple laces
like Torchon, etc., by the yard, but the process was virtually the same for the
finest laces of the olden times. The design elaborated, the finest flax employed,
the most skillful labor secured, infinite toil expended, often at cost of eyesight
and even of life, and behold the results in the exquisite lace treasures of the
seventeenth and eighteenth centuries, particularly of Flanders. This country
certainly distinguished herself in the making of Pillow lace, and while she at first
availed herself of the Italian pattern books, eminent designers of her own soon
arose, and as her flax had always been the finest in the world, her Pillow
laces took precedence of all others in their exquisite delicacy of both design and
workmanship, notably the Mechlin, Valenciennes, Brussels, Bruges, etc. As
these laces bear a certain
resemblance, one to the
tion of which is always
most necessary. That of
Mechlin is composed of a valenciennes
six-sided mesh, four sides Nineteenth century
with the thread twisted and two sides plaited. Also the whole or parts of the
design is invariably outlined with a heavy thread or Cordonnet.
In Valenciennes the mesh has only four sides and is plaited, but in the
BULLETIN OF THE PENNSYLVANIA MUSEUM
2 9
Hi
'; r= ^ B I-- =£%; ...."^i^iSi?"
X-.„M^B
,^ ■ ;;; ;: W
1 : iiiiiii?ii. .JiiSi^sii
hj ^
«;<: *fc ;v J
If/^?*
* -^^fflt^., « ■
''•%11? „M
sWfsKsj * ■' ,.^«» % fl
;::; " jgfgf
LyflPlljl 'tssj'; gB
ii-:|||i#ilil
lIlSISiMSIIlsWSiSIBIlifi^
^nOw^£;::^:i::^; : ;. :: '"*^:;H^;::*^
.•;»•
'•'' : 'i"llti'iiM^" '
BRUSSELS
■ly Eighteenth
so-called "Fausses Valenciennes" ( meaning the lace made in the neighboring
towns) the mesh was double and of course not so clear nor so beautiful. One
strong' characteristic never varied, no heavy thread was used, all being of the
same fine texture. In
the eighteenth century
the designs of Valen-
ciennes and Mechlin
were so much alike
that were it not for
the heavy thread in
the latter it would be
extremely difficult to
distinguish one from
the other.
The Brussels Pil-
low lace has several
characteristics. The
mesh background only
differs from the Mechlin in having the two plaited sides a trifle longer than in
the latter. The Cordonnet which outlines the designs is plaited instead of being
merely a heavy thread, and the texture of the designs is much closer, more com-
pact, more like a piece of cambric when examined through the magnifying glass,
which, by the way, should always be close at hand in the study of lace.
Bruges is the title of a very beautiful Flemish lace with a certain resem-
blance to both Mechlin and Brussels, but the texture of the design is not so close
as in the latter, is much more transparent, and while the Mechlin laces were
almost always of a narrow width, those of Bruges were frequently made in the
various depths of our so-called
"Flounces."
"Point applique" does not
always indicate a Point lace
applied to a background of
net, but more frequently
means pillow-made flowers,
leaves and vines, etc., made
separately and sewed on a deli-
cate background of net. In
the eighteenth century the net
was made of the finest flax,
but later, after the Jacquard
loom was invented (1801),
much of this lace was ap-
plied to a cotton loom net,
reducing materially the price "point" applique (Pillow Lacs)
of the lace, but detracting Ean y Eighteenth century
much from the pliable and delicate character of the old background. In this
connection I would like to say how misleading the misuse of the word "Point"
is in the study of lace. It is applied so often to Pillow laces, and I think that we
3°
BULLETIN OF THE PENNSYLVANIA MUSEUM
must look for the origin of the mistake in the fact that the early laces, the "Reti-
cella," the "Punto in Aria," the ''Point de Genes," etc.. were often made in deep
points, and that consequently laces in general were frequently spoken of as
"Points,"* without reference to the process by which they were made.
English "Bone" lace of the seventeenth century was so called on account of
the bobbins being made of bene (as they were also of wood and lead), and doubt-
less this lace was very similar to the Merletti a Piombini of Italy, although when
made in Devonshire it was often of great delicacy and beauty. But the demand
in England for the very finest laces caused large quantities to be brought from
Flanders, and Charles II., realizing (as Colbert did in France in regard to the
Venetian lace Points ) that the vast sums of money sent out of the country would
soon result in a financial disaster, made a stringent law against the importation
of foreign lace. Of course smuggling followed the edict ; large quantities of
Flemish laces were
chased and
rht into Eng-
rechristened
. .._ , . . , „ _ ,. „ „. .„ , _ , _ sold under the
^^f^i^^^^V^MlWi name of "Point d-An-
ffmh&Jjg&tMftd M^fiLll gleterre," another
jf a Pillow lace,
isnamed.
The English gov-
xnment hoping to
lgthen the home
industries
ight over many
ish lace makers,
them in vari-
parts of England,
hon'iton especially Devon-
Eariy Nineteenth Century shire. Buckingham-
shire, Exeter, etc., and some of the first pieces of lace made by the Flemish, who
of course used their own designs and flax, are quite impossible to distinguish
from those made at the same period in their own country. But the success of
this movement was neither brilliant nor lasting. True, certain pretty laces are
still made in Devonshire and other places, but the best known and most beautiful
English lace now is that of Honiton, which under royal patronage attained a high
standard of excellence. The graceful designs were first made with a delicate net
background, but later the flowers and leaves, the scrolls, etc., were connected
solely with the "ties" of the Venetian Points, the Genoese, Milanese, and all other
laces with "brides picotees."
Spain being a lace-loving country, imported not only the Flemish laces,
in addition to the Italian Points, but also much of the French black and white
silk lace, which, although called "Spanish Blonde," was first made in France.
Soon, however, the industry was firmly established throughout Catalonia.
* "Cette homme est bien en
Palliser's History of Lace.
ed to denote a per
BULLETIN OF THE PENNSYLVANIA MUSEUM 31
especially at Barcelona, Valencia, etc. The origin of the word "blonde," applied
indiscriminately to black as well as to white lace, was due to the fact that the
first examples were made of a light yellow silk. There are several varieties;
sometimes the designs were darned on the net ; again design and net background
were made at the same time, and often the net was embroidered with good effect.
Germany has not distinguished herself in the making of fine Pillow laces. I
found but few of interest in the museum at Munich and those were mainly all
from the district of the Erzgebirge (of Barbara Uttmann fame) and were of the
character of the peasant laces, the Torchon variety, called "household lace."
Russia's Pillow laces are not important, consisting principally of a rather
coarse product with but little variation of design which is generally of a cord-
like combination of threads in waving or venniculated lines, with a large mesh
background. Occasionally colored silk threads are mingled with other threads
in the simple designs.
Early in the eighteenth century some Bone lace was made in Ireland ; later
the industry declined. The convents and private schools, under the patronage
of philanthropic and wealthy women, have made very fine reproductions of old
Venetian Point laces, but the other so-called laces are neither the product of the
buttonhole stitch nor the pillow. They are "Limerick," a kind of tambour embroi-
dery, "Carrickmacross," made of muslin cut into designs and caught together by
stitches. Tatting and, perhaps the most important now, the "Crochet," which,
although often coarse and unattractive, can be quite striking in effect when
designs of the old Venetian Points are copied and the finest of thread and crochet
needle employed. As a trimming, it is now "le dernier cri" among the less
expensive laces.
Emily Leland Harrison.
TAPESTRY — A Glarvce at Flemish and French
(SECOND PAPER)
Want of space necessitates the omission of the early history of tapestry,
that is its appearance five thousand years ago on the banks of the Nile ; its
appearance in Greece, as woven by Penelope and also by Minerva and Arachne ;
the rather too florid tales of Oriental tapestry, and the "Sarrazinois." of which
the "Bayeux" tapestry is an example. This narrows our field down to Flemish
and French workers, who. when all is said, it must be confessed are the most
interesting.
The Flemings are supposed to have wrought at their tapestry looms as early
as the twelfth century. The French soon competed with them. Then King
Edward III. of England (1327 to 13//) wickedly brought on the "Hundred
Years' War" and poor France became desolate. The Flemings prospered by the
misfortunes of their neighbor, and those cities of Flanders, now so dead, over-
flowed with busy and most cantankerous workers. Little Arras gave its name to
the product of their looms. Polonius in Hamlet says : "Behind the Arras I'll
convey myself." Prince Hal says to Falstaff : "Go hide thee behind the Arras."
But war and greedy kings came in time to ruin prosperous little Arras.
32
BULLETIN OF THE PENNSYLVANIA MUSEUM
Charles the Bold, the last of those magnificent Dukes of Burgundy, who did so
much to encourage extravagance and the arts in their native land, was killed at
Nancy, 1477. Louis XI. of France seized Arras, the workers became turbulent,
were expelled, and Arras lost forever her prosperity. Brussels rose upon her
ruins and in turn enjoyed the smiles of fortune, till the wars at the end of the
eighteenth century and changes of fashion terminated her prosperity also. The
looms of Brussels turned out products which are among the very finest. Great
collections of these and other Flemish tapestries are to be found in the palaces of
Spain, Flanders having been so long under Spanish rulers. Much gold and silk
was used in tapestry, bearing the mark of the two "B"s ; these, originally, were
not letters, though easily mistaken for such, but two of the steels, from the flint
and steel badge of the old Dukes of Burgundy, as seen on the collar of their
order of the Golden Fleece. The whole mark is visible on the outer, blue border
of the larger tapestry, dating about the early part of the eighteenth century,
forming one of our illustrations ; the other, smaller, is earlier ; both are from
specimens in the Museum collections.
In England the factory at Mortlake, founded by Francis Crane (died 1623),
in the reign of James I., flourished for a time till war ended it also. It is impos-
sible, for want of space, to glance at the work of William Morris and Burne-
Jones, who, in our own day, did so much to take the art back to its best epoch,
the fifteenth century, or even at still more celebrated Beauvais.
In 1 541 King Francis I. of France, who reveled in building, in decorating
palaces, and in war. in which latter he was far from successful, established.
BULLETIN OF THE PENNSYLVANIA MUSEUM
33
amid his other workers engaged at Fontainbleau, a small colony of Flemish tap-
estry weavers. This was the first royal manufactory in France. The privileges
given the various bands of Flemings who were enticed into France show plainly
their importance and value. The master workers were ennobled, the pay of all
was high, they were freed for long terms from taxes and, most cherished of all,
they were allowed to brew their own beer, in their own way, and to drink as
much of it as they wished, in their own way. No foreign tapestry was allowed
to enter France, all such was seized at the frontier and destroyed.
Henry II. continued the work and founded the manufactory of the Trinity,
in Paris, about where the church of that name now stands. As usual, war put
an end to the work. Then gal-
lant Henry IV. appeared ( died
1610) and said: "I want all my
peasantry to have a fowl in the
pot every Sunday." To bring
this about he planted the mul-
berry and introduced the silk-
worm, so that to him is due the
credit for most of the textile
prosperity of France.
A family of dyers, probably
from Rheims, migrated to Paris
in the fifteenth century and
established themselves in one of
the faubourgs, on the banks of
the Bievre. Jehan Gobelins, the
first head of the works, discov-
ered a wonderful scarlet dye ;
some say the devil taught him
the secret on the usual terms and
eventually carried him off mid
the usual sulphurous fumes. The
family prospered greatly. Ana-
tole Gobelins became Marquis of
Brinvilliers and married sweet in the Penr !y ivania Museum
little Marguerite d'Aubrai — who
outdid the Borgias as a poisoner. In 1630 the tapestry establishment came to its
final abiding place at the Gobelins. In 1662 Colbert, the great minister of Louis
XIV. bought the works for the state, and they became "Manufacture Royalle des
Meubles de la Couronne." Louis' orders were, "the Superintendent of our
buildings and the directors under him will keep the manufactory full of g'ood
painters, master tapissiers of the high-warp loom, goldsmiths, founders, engrav-
ers, lapidaires, sculptors in ebony and other woods, dyers, * * *." Charles
Le Brun ( 1619 to 1690), the great painter, was named director and prosperity,
tempered by war, ensued.
The works made a narrow escape at the great revolution. The ferocious
Marat insisted on the inalienable "Rights of Man," one of which was that his
effigy should not be trodden under foot even in a carpet — his abbreviation by a
TAPESTRY HANGING ISAAC BLESSING JACOE
34 BULLETIN OF THE PENNSYLVANIA MUSEUM
head did not, according to Marat, entail any loss of dignity, though, possibly,
annoying. Napoleon dated some of his edicts for the rehabilitation of the Gobe-
lins from his great battle-fields. Napoleon understood the effect of high comedy
on his gay countrymen. The brutal, insensate Communards, in 1871, inflicted
irreparable loss ; ancient models and many noble tapestries were wantonly
destroyed.
A few words about the Raphael tapestries, the most celebrated existing.
They were designed by the great painter, and seven of the original cartoons,
bought by Rubens for King Charles I., are at Hampton Court, near London, and
are much admired by those who like them. The tapestries were intended to
decorate the Sistine Chapel. The cartoons were sent (1515) to Peter van Aelst,
prince of Flemish weavers, and were finished in three years, wonderfully quick
work. After Pope Leo X.'s death (1522) the tapestries were pawned. In 1527
Rome was captured by the Constable de Bourbon and the tapestries were car-
ried off. Repurchased by Pope Julius III. in 1553. Again stolen by the French
in 1798. One was burned by a Genoese Jew for the gold in it ; two wandered off
to Constantinople. In 1808 the ten which remain were bought (for the third
time) by Pope Pius VII. and now decorate the "Galeria degli Arazzi," in the
Vatican, Rome. During the siege of 1849 two balls penetrated the gallery but
did no damage. A second series of thirteen was executed by order of King
Francis I. (of France) to decorate the basilica of St. Peter. These cartoons were
by Giulio Romano and others of Raphael's pupils.
Before the days of Raphael, the artist-weaver (for want of a better word)
was left much freedom both in design and color, resulting in those superbly
rich decorative hangings of the fifteenth century, the best epoch of tapestry.
From Raphael's day the artist sent his painted pictures to the weaver to be copied
exactly into another medium, for which they were usually quite unfitted. The
result was huge, empty landscapes with great expanse of sky, usually soiled, or
even worse, the series of portraits in the Gallery of Apollo (Museum of the
Louvre, Paris) which could have been done far better and far cheaper in oil.
I add a few prices of tapestry realized at recent sales. Six chairs and a sofa,
the backs and seats in Gobelins, $50,000 offered and refused ; $250,000 paid for
"four panels, Gobelins, by Lancret, twelve chairs and a sofa." Four arm-
chairs, Beauvais; francs, 157,000 (say, $31,400). Sofa, Beauvais ; francs, 60,000
(say, $12,000). Beauvais tapestry panel, by Boucher; francs, 140,000 (say,
$28,000). Four Gobelins panels; francs, 76,400 (say, $15,280) each.
Charles E. Dana.
BULLETIN OF THE PENNSYLVANIA MUSEUM
35
ACCESSIONS FROM THE ST. LOUIS FAIR
The Museum has two available funds for the purchase of desirable art
objects, known as the Temple fund and the Offertory fund, the first being the
income from the Joseph E. Temple trust and the second received from visitors
who have shown appreciation and interest in the work of the Museum by depos-
iting small sums in boxes provided for the purpose. For some time past these
funds have been allowed to accumulate and have made it possible to secure some
of the treasures gathered together from all sections of the world at the St. Louis
Exposition of 1904. Among the many beautiful things which have been pur-
chased for the Museum are the following :
A jar of old Persian pottery decorated in dull blues, greens and browns, and
of unusually large size. The motives are conventionalized flowers and leaves
arranged in vertical panels.
Vase of enamel on metal with pale buff ground shading above into terra
cotta. The cloisonne decoration consists of birds and foliage in natural colors
and of almost life size. This is a superb example of Japanese art. It measures
thirty-nine inches in height, or forty-seven inches, including the carved teakwood
stand.
Large incense burner of Satsuma pottery with three feet, handles and cover.
This is entirely in cream white without any color, the decoration consisting
entirely of carving and reticulation. The body and lid are beautifully honey-
combed, while the bands of carved work extend around the circumference, and
two medallions on each side show conventionalized dragons and howo birds.
Bronze figure of elephant standing on a thin section of polished natural
wood. The modeling is exquisitely done, to the very finest details, showing dis-
tinctly the corrugations and texture of the skin and
the markings of the nails of the toes.
A series of tin-enameled (Delft) ware, pottery
and porcelain, showing the latest achievements in
mat and colored glazes, metallic lusters and under-
glaze painting of the modern Dutch potters.
A Sevres vase decorated by Taxile Doat. The
surface is covered with mat glaze of a flowing
red-brown on a pale green, with incised decoration
of pomegranates. Around the centre is an incised
and relief band containing panels and medallions of
pate-sur-pate painting in white on a gray-green
ground. The subjects are boys gathering fruit.
This work is in Air. Doat's best style and the vase is
a valuable addition to the Museum's collection of
pate-sur-pate work.
Another piece by the same artist is a plaque
nineteen and a half inches in diameter with relief
decoration of plum blossoms and leaves and five
raised panels in Sevres blue with pate-sur-pate paintings in high relief represent-
ing processions of female figures.
A curious piece of glass by the celebrated French artist, Emile Galle, illus-
\TE-SUR-PATE VASE
36
BULLETIN OF THE PENNSYLVANIA MUSEUM
trates the happy adaptation of an accident in securing a highly artistic effect.
The piece is a glass vase of moss-agate-like or opalescent substance, beneath the
surface of which are scattered brown and white dendritic mottlings which, in
one place, have taken the form of the outstretched
wings and a portion of the body of a dragon fly.
M. Galle has seized upon this suggestion for a
motive to perfect in the glass and on the surface
a most realistic design of a large dragon fly. The
gauze-like effect of the wings has been increased
by engraving on the surface, immediately above
the mottling in the glass, the delicate outlines and
veinings of the wings, while to complete the
design he has added on the surface the long
jointed body of the insect which is made more
realistic by silvery and opalescent effects. For
eyes he has added two topaz-tinted globes. The
vase itself is an excellent representation of water
and air, the lower part having a pale blue and
iridescent coloring, while the upper portion gives
the impression of atmosphere in which the dragon
fly is poised, while the brown and white mottlings
are suggestive of clouds.
This beautiful example of carved work in
glass will become more valuable as the years go
by, on account of the death of M. Galle, which
took place during the past year.
Large Japanese pottery vase, relief and open-
By Emiie Gaiie, Nancy, France work decoration representing foliage. This re-
ceived a gold medal at the St. Louis Fair.
Vase, pottery, covered with rose-pink flow glazes. From the Ruskin Pot-
tery, England.
Examples of blown glass. Venetian style. From the Whitefriars Glass
Works, England.
Figure of ape, ten inches in height. Beaten out of a thin sheet of iron by
hand. This piece was accompanied by a similar example only partially finished.
This was presented by the Japan Exhibit Company to the Museum, to show the
repousse process, by which the figure was produced.
All of the above mentioned objects were purchased on account of the
Temple fund, with the exception of the large cloisonne vase, which was bought
on account of the Offertory fund, from the Museum contribution boxes.
CARVED GLASS VASE
OTHER ACCESSIONS
Porcelain plate with polychrome decoration imitating cloisonne enamel,
modern Russian; two vases, rouge flambe glaze, made by Doulton & Co., Eng-
land ; a series of Siamese. African and Egyptian musical instruments ; all pur-
chased on account of the Temple trust.
BULLETIN OF THE PENNSYLVANIA MUSEUM T>J
Musical instruments given by Mrs. William D. Frishmuth ; Colonial relics
added to her Colonial collection.
Two small porcelain vases with mat and crystalline glazes. Made and given
by the Robineau Pottery, Syracuse, New York.
Four examples of art pottery with modeled figure decoration and mat glazes.
Made by the Van Briggle Pottery Company, of Colorado Springs, Colorado.
Presented by Mr. John T. Morris.
A valuable collection, consisting of one hundred and thirty examples of gold
and silver laces, fringes and gimps of French and Italian workmanship, of the
seventeenth and eighteenth centuries, principally of the period of Louis XVI.
This collection, the gift of Mr. Samuel B. Dean, of Boston, will be described
and illustrated in the next number of the Bulletin.
From Mrs. John Harrison, a majolica tazza of the eighteenth century,
Talavera, Spain ; also a fine example of antique engraved glass, German. From
Mr. John Harrison, a stanniferous faience plate with painted and gilded decora-
tions. French.
EDITORIAL
BUREAU OF IDENTIFICATION
This Museum is the first in this country to undertake to furnish opinions to
inquirers relative to objects of art. Since the establishment of a Bureau of Iden-
tification here, many owners of such objects have either applied in person or for-
warded their specimens to the Museum for examination. The greater number
of inquiries have related to pieces of pottery and porcelain, although much infor-
mation has been furnished in other departments of art.
A large number of dark blue Staffordshire plates with American views have
been submitted by collectors, many of which have been found to be modern
reproductions. It is well known that a gang of counterfeiters has been for some
time flooding the country with these worthless imitations at high prices. The
majority of these counterfeits come from a southern city and some of them are
such close imitations of the old pieces that only experts can distinguish the false
from the genuine. So abundant have these fraudulent pieces become that the
majority of collectors have lost interest in their specialty, having become sus-
picious of everything which is being offered. It would seem that the counter-
38 BULLETIN OF THE PENNSYLVANIA MUSEUM
feiters have overreached themselves and have seriously injured, if they have
not killed, the goose that laid the golden egg. Some of these criminals are
known, but for some unaccountable reason their victims have not yet called them
to account. Suspicious pieces may be forwarded to this Museum and an opinion
will be cheerfully furnished.
ON THE CO-OPERATION OF PUBLIC MUSEUMS
The time has arrived when the museums of this country, in order to keep
abreast with modern progress, must enter into closer relations with each other
than have existed in the past. Heretofore the work of museums has been of a
more or less desultory character and each curator has been a law unto himself.
Some museums have advanced slowly in one direction, some in others, but the
little progress that has been made in individual cases has, through the following
of a narrow policy, failed to increase the educational influence of these institu-
tions at large. The physician, the educator, the librarian, the specialist, who
holds aloof from his fellow workers, is left behind in the race, his methods
become antiquated and his usefulness abridged. In this age of organization, of
conventions and congresses, the best effort of the individual results only in an
insignificant contribution to the total of human knowledge. Men meet together
at stated periods to communicate their discoveries to their fellows and to learn
what has been accomplished by others in wider fields. Thus the individual
receives the benefit of the work of the many, which aids and inspires him to far
greater achievement.
To accomplish the greatest amount of good, it will be necessary for the
curators of the various American museums to meet together periodically for the
interchange of ideas looking toward the improvement of methods relating to
classification, the arrangement of exhibits, the best system of labeling and the
exchange of desirable duplicates which are unavoidably accumulated by every
large museum.
The suggestion is here offered that curators of our various museums, from
Boston to San Francisco, meet together annually for the consideration of subjects
relating to the most effective administration of public museums. By holding
these meetings in turn in the various cities where important museums exist, a
knowledge of what is being accomplished throughout the United States will be
obtained and the entire museum system of the country will be greatly benefited.
The Pennsylvania Museum and School of Industrial Art is ready to take the
initiative and the Curator will be glad to receive the views of the directors and
curators of other museums on this subject.
BULLETIN OF THE PENNSYLVANIA MUSEUM 39
NOTES
Herr Paul Gesell, Counsellor and Director of the Royal Saxon China Manu-
factory at Meissen, Germany, recently paid a visit to this Museum and was much
interested in examining the specimens of Meissen porcelain in the collections.
M. Taxile Doat, of the National Manufactory of Sevres, France, has
announced to the Curator of the Museum his intention of visiting the United
States during the present year and of making a special visit to Philadelphia for
the purpose of inspecting the collections of Sevres porcelain possessed by this
Museum. M. Doat is one of the most accomplished ceramists in the world.
It is his desire that this Museum shall be given a special opportunity to secure
from time to time some of the best pieces produced at that factory. In the
article on purchases at the St. Louis Fair, in this number, will be seen an illus-
tration of M. Doat's pate-sur-pate painting.
Mr. J. Pierpont Morgan, of New York, has presented to the library of the
Museum a copy of the superb Catalogue of the Morgan Collection of Chinese
Porcelains, illustrated with seventy-seven beautifully executed color plates. Only
250 copies have been printed. This work, which contains a large amount of
authoritative information on ( )riental wares, was prepared by Mr. W. M. Laffan,
one of the foremost experts on Chinese porcelains in this country. The volume,
which is of octavo size, is exquisitely bound in dark green crushed levant,
imported especially from France, with gold tooling and silk doubles. It bears
the imprint of Robert Crier Cook, New York City.
The admissions to the Museum during 1904 reached 384.321. The falling
off in the number of visitors from the previous year may be explained by the
large number of inclement days during 1904, particularly Sundays. The Sunday
afternoon attendance, however, amounted to fifty-seven per cent, of the total
registration.
By the establishment of a system of scholarships in the Textile School the
firm of A. B. Kirschbaum & Co., one of the largest and most important firms
in the clothing business in this country, have given a most generous expression
of their endorsement of the School and its work. The administration of these
scholarships has been left with the School staff, one scholarship to be awarded
annually to that member of the Freshman Class who has made the best record
in the year's work, and to hold good for the remaining two years of the regular
course, if properly renewed, provided the student's record continues satisfactory.
40 BULLETIN OF THE PENNSYLVANIA MUSEUM
Mr. Harlan J, Maynard, a graduate of the Textile School, who has already
achieved notable success in the field of silk manufacture in this city and who
was the first one to successfully undertake the manufacture of silk hat-bands in
this country, is to establish a silk mill in Italy, where a number of important pat-
ents which he controls have warranted him in entering into competition with the
German manufacturers on their own ground. Mr. Maynard's venture is of
great economic importance and its outcome will be watched with interest on both
sides of the water.
Under tbe auspices of the Alumni Association of the School of Industrial
Art an exhibition was held in January of the work in sculpture of Miss Meta
Vaux Warrick, a graduate of the School, who has, since leaving the School,
enjoyed the advantages of two years of foreign study. In February an exhibi-
tion of the commercial and newspaper decorative and advertising work of Mr.
Clarence H. Rowe and Mr. Charles Henckels was held. These exhibitions by
keeping past and present pupils of the School in touch with one another, and by
emphasizing the connection between the work of the School and the practical
work to follow, and for which the School is a preparation, are performing a most
valuable service to the School, the importance of which can not easily be over-
estimated.
Miss Sophie B. Steel, who has been for several years in charge of the
classes in illustration, sailed in February for the Mediterranean, to be gone until
the autumn. While abroad, Miss Steel will make a special study of the pictur-
esque life in the more out-of-the-way portions of Italy and Sicily, and will also
make a collection of photographs that will be of assistance and inspiration to her
classes in the School.
The Museum recently received a visit from Mr. Frederick Rathbone, of
London, England, the noted Wedgwood expert, who came especially to see the
old Wedgwood in the Bloomfield Moore collection, many examples of which
he assisted Mrs. Moore in procuring a quarter of a century ago.
The exhibit of work of the students of the School, which occupies the North
Vestibule of the building, has been rearranged and enlarged by a portion of the
material shown at St. Louis. Many fine examples of metal work, carved furni-
ture and a case of pottery add greatly to the appearance of this display.
FENN S Y LVANIA , MUSEUM
AN D SCHOOL OF INDUSTRIAL ART
Mr. John Story Jexrs, Chairman
Dr.. Alfred C. Lambdin -
Mr. John- T. Morris
Mr. William Platt Pepper
Miss Anna Blanchard
MUSEUM COMMITTEE
Mrs. W- T. Carter
Mrs. Wm. D. Frishmuth ,
Mrs. John Harrison
Miss Fannie S". Magee '
Miss Elizabeth C. Roberts
HONORARY CURATORS
Textiles, Lace and Embroidery. .-. , : .Mrs. John Harrison
Oriental Pottery Mrs. Jones Wister
. European Porcelain , Rev. Alfred Duane Pell
Arms .and Armor Cornelius Stevenson
Furniture and Woodwork . Gustave Ketterer
Musical Instruments Mrs. W. D. Frishmuth-
Prints, Book Plates and" Historic Seals , .Charles E. Dana;
Numismatics .-. . , ,F. D. Langenbeim
Philately . Edward Russell Jones
Goldsmith Work, Jewelry and Plate Charles Gbdney- King
M
ASSOCIATE COMMITTEE OF WOMEN -TO THE BOARD OF TRUSTEES
PRESIDENT.
Mrs. John Harrison
.SECRETARY "
Mrs. David E. Dallam
Mrs. Fbank K.Hipple
Miss Ellen McMurtrie
Mrs.
Mrs.
Miss
Mrs.
Mrs.
Mrs.
Miss
Miss
C. Cheyney-Bactol
C. William Bergner , -
•Anna Blanchard ... •.
Rudolph- Blankenbukc
John H. Brinton '
Wm. T. Carter
Margaret Clyde
Margaret L.. Corliss
Ada M. Crozer
.Edward P. Davis -
Mrs. Rodman B. Ellison Mr
Miss Jui.ia G. Ewing Mrs.
Mrs. Wm, D. Frisbma;th : Mrs.
Mrs. W. W. GibbS' Miss
Mrs. Joseph Harrison Mrs.
Mrs. Robert Millar Janney Mrs.
Mrs. J. L. Ketterlinus - , . Mrs.
Miss Nina Lea . ' ' ' Mrs.
Miss Fannie Si Magee ■■'-'■ "Mrs.
Mrs. S. P. S;. ..Mitchell; >.':' Miss
Mrs, Daniel S. New hall
Edward H_Ogden
Richard Peters, Jr.
•Thomas Roberts,'
Elizabeth C Roberi
Joseph F. Sinnott
John B. Stetson -
Jqhn, Wister
Jones Wister
George Wood
H.A. Zell
the Ivy Leaf in Sa
TVNews
OpenLibrary